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| The Piano God - Tiger Rag / Humoresque (2CD) |
| Art Tatum |
német
első megjelenés éve: 2004
112 perc |
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| (2010)
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2 x CD |
Kérjen
árajánlatot! |
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| 1. CD tartalma: |
| 1. | Strange As It Seems
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| 2. | I'll Never Be The Same
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| 3. | You Gave Me Everything But Love
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| 4. | This Time It's Love
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| 5. | Tea For Two
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| 6. | St. Louis Blues
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| 7. | Tiger Rag
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| 8. | Sophisticated Lady
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| 9. | Moonglow
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| 10. | I Would Do Anything For You
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| 11. | When A Woman Loves A Man
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| 12. | Emaline
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| 13. | Love Me
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| 14. | Cocktails For Two
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| 15. | Ill Wind
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| 16. | The Shout
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| 17. | Liza
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| 18. | I Would Do Anything For You
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| 19. | When A Woman Loves A Man
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| |
| 2. CD tartalma: |
| 1. | After You've Gone
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| 2. | Star Dust
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| 3. | Beautiful Love
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| 4. | Liza
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| 5. | Body And Soul
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| 6. | With Plenty Of Money And You [Oh! Baby What I Couldn't Do]
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| 7. | What Will I Tell My Heart
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| 8. | I've Got My Love To Keep Me Warm
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| 9. | Gone With The Wind
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| 10. | Stormy Weather
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| 11. | Chloe
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| 12. | The Sheik Of Araby
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| 13. | Tea For Two
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| 14. | Deep Purple
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| 15. | Elegie
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| 16. | Humoresque
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| 17. | Sweet Lorraine
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| 18. | Get Happy
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| 19. | Lullaby Of The Leaves
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Jazz
CD 1: Tiger Rag - 54:53 min.
Strange As It Seems
I'll Never Be The Same
New York, August 5, 1932
Adelaide Hall with probably (except for pianists and trumpeter): Charlie Teagarden (tp), Jimmy Dorsey (cl), Francis Carter & Art Tatum (p), Dick McDonough (g), Adelaide Hall (v)
You Gave Me Everything But Love
This Time It's Love
New York, August 10, 1932
Adelaide Hall with Francis Carter and Art Tatum (p), Adelaide Hall (v)
Tea For Two
St. Louis Blues
Tiger Rag
Sophisticated Lady
New York, March 21, 1933
Art Tatum, Piano solo
Moonglow
I Would Do Anything For You
When A Woman Loves A Man
Emaline
Love Me
Cocktails For Two
New York, August 22, 1934
Art Tatum, Piano solo
Ill Wind
The Shout
Liza
New York, August 24, 1934
Art Tatum, Piano solo
I Would Do Anything For You
When A Woman Loves A Man
New York, October 9, 1934
Art Tatum, Piano solo
CD 2: Humoresque - 57:06 min.
After You've Gone
Star Dust
Beautiful Love
Liza
New York, October 9, 1934
Art Tatum, Piano solo
Body And Soul
With Plenty Of Money And You (Oh! Baby What I Couldn't Do)
What Will I Tell My Heart
I've Got My Love To Keep Me Warm
Los Angeles, February 26, 1937
Art Tatum And His Swingsters: Lloyd Reese (tp), Marshall Royal (cl) Art Tatum (p-cel), Bill Perkins (g), Joe Bailey (sb), Oscar Bradley (d)
Gone With The Wind
Stormy Weather
Chloe
The Sheik Of Araby
New York, November 29, 1937
Art Tatum, Piano solo
Tea For Two
Deep Purple
Los Angeles, April 12, 1939
Art Tatum, Piano solo
Elegie
Humoresque
Sweet Lorraine
Get Happy
Lullaby Of The Leaves
Los Angeles, February 22, 1940
Art Tatum, Piano solo
Buchformat 2 CD + 20 page booklet
There is no single musical category to put Art Tatum in - he created something completely new. He did not play swing, bebop or Dixieland - Art Tatum played Art Tatum. Listening to his recordings is like taking a jouney through the greatest music of the first half of the 20th century: blues, ragtime, early big band music, compositions of the likes of the Gershwin brothers and even classical pieces. Only a musical genius could cover such a varied range of styles - and give each one his own unique and unmistakable mark.
Art Tatum
Active Decades: '20s, '30s, '40s and '50s
Born: Oct 13, 1909 in Toledo, OH
Died: Nov 05, 1956 in Los Angeles, CA
Genre: Jazz
Styles: Boogie-Woogie, Swing, Stride
Art Tatum was among the most extraordinary of all jazz musicians, a pianist with wondrous technique who could not only play ridiculously rapid lines with both hands (his 1933 solo version of "Tiger Rag" sounds as if there were three pianists jamming together) but was harmonically 30 years ahead of his time; all pianists have to deal to a certain extent with Tatum's innovations in order to be taken seriously. Able to play stride, swing, and boogie-woogie with speed and complexity that could only previously be imagined, Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries.
Born nearly blind, Tatum gained some formal piano training at the Toledo School of Music but was largely self-taught. Although influenced a bit by Fats Waller and the semi-classical pianists of the 1920s, there is really no explanation for where Tatum gained his inspiration and ideas from. He first played professionally in Toledo in the mid-'20s and had a radio show during 1929-1930. In 1932 Tatum traveled with singer Adelaide Hall to New York and made his recording debut accompanying Hall (as one of two pianists). But for those who had never heard him in person, it was his solos of 1933 (including "Tiger Rag") that announced the arrival of a truly major talent. In the 1930s, Tatum spent periods working in Cleveland, Chicago, New York, Los Angeles, and (in 1938) England. Although he led a popular trio with guitarist Tiny Grimes (later Everett Barksdale) and bassist Slam Stewart in the mid-'40s, Tatum spent most of his life as a solo pianist who could always scare the competition. Some observers criticized him for having too much technique (is such a thing possible?), working out and then keeping the same arrangements for particular songs, and for using too many notes, but those minor reservations pale when compared to Tatum's reworkings of such tunes as "Yesterdays," "Begin the Beguine," and even "Humoresque." Although he was not a composer, Tatum's rearrangements of standards made even warhorses sound like new compositions.
Art Tatum, who recorded for Decca throughout the 1930s and Capitol in the late '40s, starred at the Esquire Metropolitan Opera House concert of 1944 and appeared briefly in his only film in 1947, The Fabulous Dorseys (leading a jam session on a heated blues). He recorded extensively for Norman Granz near the end of his life in the 1950s, both solo and with all-star groups; all of the music has been reissued by Pablo on a six-CD box set. His premature death from uremia has not resulted in any loss of fame, for Art Tatum's recordings still have the ability to scare modern pianists.
---Scott Yanow, All Music Guide |
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